Posts Tagged ‘Martina McBride’

When Faith Hill emerged after an eight-year hiatus to celebrate her twentieth wedding anniversary, announce a Soul2Soul revival tour and mentor contestants on The Voice, I figured she was banking on nostalgia to propel this new era of her career. Hill has smartly been riding on Tim McGraw’s coattails since 2006, knowing she can’t fill arenas, or Vegas casinos, to (near) capacity without him.

She also couldn’t launch a comeback with Illusion, arecord Warner Bros. likely shelved after two embarrassing singles – “Come Home” and “American Heart” bombed at country radio when she desperately needed a hit to regain momentum within the industry. That was never going to happen anyways, as age and changing trends saw Carrie Underwood filling the space she once occupied.

With those statistics in mind, I was surprised when she quietly announced a new album to end the record contract she signed in 1993. But I was disheartened to learn it would exist as Deep Tracks, a project comprised of previously released album cuts the label probably wisely never saw fit to release as singles. The project is nothing more than a cash grab and an insult to Hill’s tenure with the label. I’m glad to see Hill on board, though, which is more than I can say for the umpteenth Greatest Hits projects Curb released to extend McGraw’s contract. If the marketing is to be believed, it seems she actually selected these songs herself.

Tagged onto the end of the album are three previously unreleased songs, of which I was anxious to hear. I’ve been a big fan of Hill’s since I began listening to country music in the mid-90s and always welcome anything new she chooses to give her fans. And with the infrequency of her releases, I haven’t cast Hill aside as I’ve done to Martina McBride.

The new material begins with the recently recorded “Boy,” written by Lee Brice, Rob Hatch and Lance Miller. The track is classic Hill, a love song, she freely admits reminds her of her man. While it doesn’t break any new ground, the plucky ballad deviates from her typical sonic playbook just enough to keep the feel of the song fresh.

Rob Mathes and Allen Shamblin’s “Why” follows. Hill recorded the track in 2004 for Fireflies and when it failed to make the cut, Dann Huff brought the song to Rascal Flatts, who brought it to #18 in 2009. The song explores a woman’s anguish in the wake of an unimaginable tragedy:

Oh why, that’s what I keep askin’

Was there anything I could have said or done

Oh I, had no clue you were masking a troubled soul, God only knows

What went wrong, and why you’d leave the stage in the middle of a song

Oh why there’s no comprehending

And who am I to try to judge or explain

Oh, but I do have one burning question

Who told you life wasn’t worth the fight

They were wrong

They lied

And now you’re gone

And we cried

‘Cause It’s not like you, to walk away in the middle of a song

The execution is extremely heavy-handed with Huff’s production and Hill’s vocal leaning far too piano-ballad pop for my tastes. The lyric itself is somewhat powerful, but it lacks the subtlety that made “Can’t Be Really Gone” and “On A Bus To St. Cloud” so magical.

In context, the final cut is arguably the saddest. Hill’s mother had long wished her daughter would record a gospel album, the only type of music she wanted to hear her sing. Such a project never came to fruition, so “Come to Jesus” is the closest Hill’s come to carrying out her mother’s wishes. Hill’s mom passed away just three weeks ago, right before the CMA Awards, but was able to hear this song in time.

Hill could obviously still make a gospel album, which could be a treat, if it sounds nothing like she does on this Mindy Smith tune. I appreciate and wholeheartedly welcome the use of fiddle throughout, but there’s just nothing delicate or interesting to hold my attention. This is not the soaring moment (think “There Will Come A Day”) I was hoping for.

With this new material Hill deserves full credit for covering her bases. “Boy” fits perfectly within her penchant for love songs while “Why” displays her knack for age-appropriate material tackling emotional subjects. “Come to Jesus” is the type of song she was teasing when gearing up for the ill-fated Illusion that supposedly nixed her country sound for ‘southern soul.’

While I didn’t find much here to be excited about (“Boy” is the best of the new stuff and worth checking out), I don’t want to suggest the ‘deep tracks’ themselves are of poor quality. If you’ve never heard her take on Lori McKenna’s stunning “If You Ask,” do yourself a favor and check it out.

I’m just upset that after twenty-three years of enormous success, Hill and her fans aren’t being treated to a more heartfelt sendoff than Deep Tracks. Everyone involved deserves so much more than this.

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

Beyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F

18.

Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F

17.

Florida Georgia Line feat. Tim McGraw – May We All

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F

16.

Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B-

14.

Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls

At least Bentley wasn’t showcases the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

To celebrate their 50th anniversary, The Academy of Country Music Awards is being held at AT&T Stadium in Dallas, TX this Sunday on CBS. Blake Shelton is returning for his fifth year as host while Luke Bryan will co-host for the third consecutive time. Notable performers include George Strait, Reba McEntire, Garth Brooks, and Dierks Bentley along with the usual mainstream country suspects. Nick Jonas and Christina Aguilera will also take the stage as part of unique duets.

Along with the regular awards, the ACM will also be handing out specially designed 50th anniversary Milestone Awards to Taylor Swift, Kenny Chesney, Miranda Lambert, Brooks & Dunn, Reba McEntire, Garth Brooks and George Strait. (Swift is expected to accept in person despite distancing herself from the genre).

Garth Brooks, who has six previous wins, is nominated for the first time since 2001 in a year that saw him break ticket sale records, but underwhelm with his Man Against Machine album. The absence of Taylor Swift, George Strait and Tim McGraw left the category open for some fresh blood, resulting in Florida Georgia Line’s first nomination.

Should Win: Garth Brooks – he continues to show how it’s done, twenty-five years after his debut.

Will Win: Luke Bryan – he’ll ride his CMA momentum all the way to the finish line, scoring his second win in three nominations.

Male Vocalist of the Year

Despite eight previous nominations with five wins, it’s not shocking to see Brad Paisley included here. But after such an underwhelming year, it’s still surprising to see him included in a six-way tie. Dierks Bentley scores his second nomination in ten years, while half of the remaining four consist of previous winners. Jason Aldean has taken home this award for the past two years.

Should Win: Dierks Bentley – His only previous nomination came in 2005, while he was still in the promotional cycle for his sophomore album. His stature has only risen in the years since, with critical acclaim and consistent support from country radio, making him long overdue for his turn in the spotlight.

Will Win: Luke Bryan – He’s arguably the biggest male artist in country music right now, eclipsing Aldean, Eric Church, and Blake Shelton with his stadium show, fast rising singles, and immense popularity. There’s little chance he’ll walk away empty handed, taking home his first win on his third consecutive nomination.

With Brad Paisley and a pregnant Carrie Underwood set to host for the seventh straight year, and all the usual suspects set to perform, you’d think business would run as normal. But you’re wrong. Not only will this mark the first CMA telecast without Taylor Swift in nine years, pop starlet Ariana Grande is set to perform with Little Big Town while Meghan Trainor will sing her hit “All About That Bass” with Miranda Lambert. Few other surprises have been announced, but God only knows why Trisha Yearwood has been regulated to a presenter’s slot and not given prime exposure to sing “PrizeFighter” with Kelly Clarkson.

At any rate, here are the nominees. You’ll find my Should Win / Will Win perdictions below. Do you agree/disagree? Sound off in the comments.

Entertainer of the Year

Blake Shelton and Keith Urban have one trophy apiece while George Strait is nominated the year he gave his final concert. Only Luke Bryan and Miranda Lambert, who are on their second nominations, have yet to win.

Should Win: George Strait – The Country Music Hall of Famer and country music legend wrapped his Cowboy Rides Away Tour a year after beating his younger competition to win this award for the first time in 24 years. When all is said and done, the CMA would be foolish to deny Strait his rightful place as an all-time category winner (four wins), along with Garth Brooks and Kenny Chesney.

Will Win: George Strait – Prissy Luke Bryan can have his turn with his third consecutive nod next year. Strait, who’ll never be eligible for this award again, will go out in style.

Last August, when Florida Georgia Line’s “Cruise” became the biggest country single of all-time by logging the most weeks at #1 by a song in the history of the Billboard Hot Country Singles Chart, Jody Rosen of Vulturedefined the current strain of mainstream country trends as ‘bro-country’ or “music by and of the tatted, gym-toned, party-hearty young American white dude.” Bro-country is by and large one of the worst epidemics to ever strike mainstream country, far worse then the Urban Cowboy era, 90s Hat Acts, or The Nashville Sound. The roots of this ‘sub-genre’ are 80s arena rock and 90s hip-hop and are about as far away from the traditions of country music as Sidney, Australia is from New York City. This drivel is a surprising hit, and why not? It appeals to the adolescent and college set who buy songs and fill stadiums. It also, unequivocally, makes for the worst music in the history of the country genre. Compiling this list was easy, with ten reasons why most people cannot even stomach mainstream country anymore:

10. Parking Lot Party – Lee Brice

is there a chance Lee Brice may be the only male country singer to understand the concept of balance? I could knock him for recording this awful cliché-drenched ode to tailgating, but it comes on the heels of “I Drive Your Truck,” a surprisingly substantive moment in mainstream country this year. It’s just too bad he needs to offset a steel-heavy ballad with a desperate attempt at remaining a hero to the teen and college set.

9. Days of Gold – Jake Owen

One of the benchmarks of a great country song is the ability to be drawn in by the story through production and vocals that help, not hinder, the listener’s ability to understand the lyrics. That simple logic has been thrown out the window here, which in part is smart given the vapid nature of this song. There’s nothing here but summertime cliché after summertime cliché sung in rapid-fire succession behind a wall of irritating sound. Owen wants more substance in his music, but if he keeps playing to radio, he’s not going to achieve that goal anytime soon.

8. Southern Girl – Tim McGraw

Twenty years into his career, Tim McGraw proves he’s a master at curtailing his music to fit whatever trend will help him score huge radio hits. “Southern Girl” isn’t as nonsensical as “Truck Yeah” but with dumb rhyming schemes and irritating echoes, it’s just as annoying.

7. Aw Naw – Chris Young

Like it or not, Chris Young’s traditional country career ended the second “Neon” stalled at radio. In the course of three singles songs like “The Man I Want To Be” and “Tomorrow” were out of fashion as the new wave of bro-country swept in like a tsunami. So what’s a twenty-something guy to do? Make like Dierks Bentley and suppress his artistic sensibilities in an effort to stay in the good graces of country radio. “Aw Naw” is the first, and certainly not the last, example of the theory working wonders for Young. Oh, how I miss the days when an artist could record quality songs and be rewarded with big hits.

6. DONE. – The Band Perry

Imagine my immense disappointment when the group that gave us my favorite country song so far this decade (“If I Die Young”) churns out this mess as their new single. “Done” is an appeal-to-the-tweens breakup anthem that’s too loud and would’ve even been immature coming from Taylor Swift on her debut album seven years ago. This is just another example of a worthy talent being compromised by the commercial country machine in order to make their label (once again run by Borchetta) millions.

5. 1994 – Jason Aldean

Like most of Jason Aldean’s singles of late, ‘1994’ has no narrative to speak of, no point to its existence, or any artistic credibility whatsoever. Aldean is singing about a man once nicknamed ‘Joe Ditty,’ in a song that makes “Pickup Man” and “John Deere Green” sound like the second coming of “He Stopped Loving Her Today.” When tribute songs are of a far lesser quality than the music of artist they’re honoring, is there even a point?

4. Boys ‘Round Here – Blake Shelton

As evidenced by the massive success of Duck Dynasty there’s a redneck craze sweeping America that songs like this buy right into. Shelton is pandering like never before making him the most successful he’s ever been in his ten+ years as a recording artist.

Shelton’s embrace of the culture isn’t the problem here, it’s that he’s doing at the expense of country music. He’ll clearly do anything to stay popular including rap and chant cliché after cliché. Worst of all, though? He’s recruited a cast of fellow singers (Miranda Lambert Ashley Monroe, Josh Turner, etc) to join him in saluting his forbearers with a big ‘ol middle finger while he laughs all the way to the bank. Just thinking about it makes me sick.

3. Cruise – Florida Georgia Line featuring Nelly

The newly minted CMA Single of the Year is the worst novelty hit in decades. The rap remix is nothing more then ‘Anti-Christ’ Scott Borchetta cementing his stronghold over commercial country, and his dominance as dictator of Music Row. He’s becoming more of a problem then his artists at this point.

2. That’s My Kind of Night – Luke Bryan

Zac Brown dubbed it ‘the worst song he’d ever heard’ and it’s hard to disagree. An obvious attempt at pandering to trends in order to stay relevant, “That’s My Kind of Night” is one of the laziest pieces of drivel ever recorded by a superstar in their supposed commercial prime. With the eyes of the world on him, Bryan should be using his platform to record good quality country music – not this faux-rap garbage.

1. Redneck Crazy – Tyler Farr

Who would’ve thought we’d see the day when an up and coming country singer would score their first major (i.e. top 5) hit with a song about a guy who stalks his ex-girlfriend after she’s moved on with another man? He’s also about to get violent declaring, “I didn’t come here to start a fight, but I’m up for anything tonight, you know you broke the wrong heart baby, and drove me redneck crazy.”

Farr has defended the track, saying every woman wants a man who loves them that much while Martina McBride has squashed comparisons to “Independence Day” saying the domestic abuse in her 1994 hit is in no way comparable to the unhinged man at the center of Farr’s hit. In any event this tasteless muck (co-written by Josh Kear and Chris Tompkins of “Before He Cheats” fame) is another low for country music, in an era in which everyone seems to be trying to out do themselves for the lowest levels of douchedom. Count me out.

The first thing that struck me when I was listening to Central Massachusetts native and 2010 Cat Country 98.1 WCTK Country Idol Shanna Jackman’s eponymous debut EP was her affection for Martina McBride, a point driven home as much by her vocal delivery as the sonic direction of her music. I was transported back to the Martina era, and the guitar work from “This One’s For The Girls.”

Jackman, formally of the band Not In Kansas and 2011 New England Country Music Organization Most Promising Vocalist and Entertainer of the Year (she also won the NECMO Horizon Award this year), is a country singer stepping into the spotlight for the first time. She funded this project through Kickstarter last March, and recorded the album in Nashville just three months ago. Although Jackman’s music has echoes of McBride, one of her favorite singers whom she opened for this past summer, she’s still able to form her own identity. Rowdy break-up anthem “In My Truck,” the 2013 1490-AM WMRC Local Single of the Year, preceded the album with a rockish mix of electric guitars and drums that allow Jackman to perfectly display the attitude in the lyrics. Normally I would call out the production for being too loud but Jackman’s forceful twang cuts through the noise with ease, proving her skills as a vocalist.

She continues in up-tempo mode on the introspective “Never Gave Up,” a tune about perseverance in which she sings, ‘Guess it was always my luck, never gave up.’ With ribbons of pedal steel and twangy electric guitar, the song exudes a delightful sunny effervescence that Jackman matches with her effortless yet affecting vocal.

“He Does” is the track that brought McBride to mind, and as I was listening, Jackman had me longing for the way country music used to sound as recently as ten years ago. The track, about a woman in the honeymoon stage with her boyfriend, is one of my favorite types of country songs – joyful, upbeat, and perfect to crank up on one of those sunny days when you don’t have a care in the world. Jackman’s unforced twang is the perfect compliment for the subtle electric guitar and drum heavy arrangement.

The album turns more serious on the remaining tracks, and reaches it’s emotional core on “We’ve Got Your Back,” a song written specifically to thank the military and their families for their service. It’s an excellent song and easily the highlight of the EP. Behind a mix of piano and drums Jackman beautifully conveys a timeless message of hope:

We’ve got your back

When you stand on the front lines for us

We’re the ones you can always depend on

We’re the ones you can always trust

We’ve got your back

And for the ones you’ve left here at home

We’re gonna give them our shoulders to lean on

We’re gonna love them like one of our own

We’ve got your back

Jackman is begging for her man’s help in ending their relationship on “Go Ahead,” the record’s most overtly popish moment. Like all of McBride’s most popular relationship ballads (think – “Whatever You Say,” “Where Would You Be,” How Far”), Jackman sings with thrust, transmitting the woman’s emotional pain as she watches the relationship crumble before her eyes. You feel what she’s going through fully, which is a testament to Jackman’s gifts as a singer.

“Road To You,” the project’s strictest ballad, is more then I was expecting. Instead of the typical guy and girl relationship song, Jackman is singing about her bond with her mom, and the journey they’ve shared since she was born. As someone who’s very close to both my parents, I can easily relate to what she’s signing about here. Jackman croons with a gorgeous simplicity here, knowing that she doesn’t have to reach for any high notes to get her point across. The ballad is stunning as a result, and the string section that frames her vocal is the perfect backdrop to bring the emotional lyrics to life.

There isn’t a bad song to be found on Jackman’s EP, although “In My Truck” is the most obvious example of radio fodder and probably the album’s weakest link, despite it succeeding wonderfully on its own merit. I didn’t know what I’d find when I popped the CD into the player, but it was her voice that won me over. Jackman sings the way I wish all females in country music (yes you, Carrie Underwood and Kelly Clarkson) sang – without pretense or the need to show off. Power is always a good thing, but only when you know how to properly use it. Jackman has complete control over her instrument and the perfect set of songs to properly show it off. This is her time, and she deserves this chance to step out into the spotlight.

Such as they are, here’s the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:

Entertainer of the Year

Jason AldeanKenny ChesneyBrad PaisleyBlake SheltonTaylor Swift

The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.

Will Win: Taylor Swift – I’m betting on the safest choice this time around. She’s the most likely to pull off a win, her third. Chesney may’ve had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

Should Win: Luke Bryan, but he wasn’t nominated. As an all around entertainer, he’s so much better than Aldean, the only one who stands to keep the award out of Swift’s hands.

Kelly Clarkson, really? I adore her but she hasn’t fully embraced a career in country music…yet. But she did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.

See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Will Win: Lambert – she’s at the top of the heap and the countriest of the big 3

Should Win: While I’d love to see this award go to Clarkson, she’s a pop singer who’s done a bang up job covering country songs in concert. That’s it. I’ll say Lambert because of her intuition with Pistol Annies

Male Vocalist of the Year

Jason AldeanLuke BryanEric ChurchBlake SheltonKeith Urban

Another somewhat standard list until you take into account Urban is here in place of the red hot Dierks Bentley. His exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should’ve joined Brad Paisley and been made to sit this one out this year.

Will Win: Shelton – there’s seemingly no stopping him right now despite one mediocre single after another.

Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.

Vocal Group of the Year

The Band PerryEli Young BandLady AntebellumLittle Big TownZac Brown Band

On chart hits alone, all five deserve to be here this time around. It’s nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.

Will Win: Lady Antebellum – is there any reason to bet against them?

Should Win: Little Big Town – Their latest single “Pontoon” isn’t just their biggest single, but its country music’s song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.

Vocal Duo of the Year

Big & RichLove and TheftSugarlandThe Civil WarsThompson Square

Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.

Will Win: Thompson Square – they’ve yet to repeat the monster success of “Are You Gonna Kiss Me or Not” in their last two tries, but they’re far from one hit wonders. Shawna may not be the most flashy female vocalist, but she’s the most akin to the genre’s traditions.

Should Win: The Civil Wars – there isn’t a more ear catching duo in country music right now

New Artist of the Year

Lee BriceBrantley GilbertHunter HayesLove and TheftThompson Square

If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they’ve done to date, and none have displayed the integrity to correctly push the genre forward.

Will Win: Brice, Gilbert, and Hayes are so even I can’t predict between the three. That may give Thompson Square the edge.

Should Win: Thompson Square – of this group, they’re the best of the bunch

The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn’t nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait’s Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.

But rest assured, we get Own The Night. The category wouldn’t be complete without it now would it?

Will Win: Own The Night – if its good enough to get a Best Country Album Grammy, than it can’t loose here, right?!

Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.

Song of the Year (Award goes to songwriters)

“Even if It Breaks Your Heart” – written by Will Hoge and Eric Paslay“God Gave Me You” – written by Dave Barnes“Home” – written by Dierks Bentley and Jon Randall Stewart“Over You” – written by Miranda Lambert and Blake Shelton“Springsteen” – written by Eric Church, Jeff Hyde and Ryan Tyndell

Another boring list. The exclusion of “So You Don’t Have To Love Me Anymore” is a travesty, and George Strait should’ve been honored for his songwriting contributions to Here For A Good Time. But the inclusion of “Springsteen” is all that matters to me.

Will Win: “Over You” – I can already see Lambert and Shelton accepting this together and I’m very happy about it

Should Win: “Springsteen” – its the best song of this bunch hands down

Aren’t the nominations for Aldean’s awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productionsever. Bentley’s patriotic anthem is wonderful, and Church’s ode is his best single yet.

Will Win: I’m leading towards, “Home” but could also see “Springsteen” sneak in a win. But as far as singles of the year go, “Pontoon” is about as big as it gets

Should Win: “Pontoon” – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way

The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie’s classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.

Will Win: “Feel Like A Rockstar” – the CMA can’t resist when two genre superstars team up

Should Win: “Safe and Sound” – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre’s best duo.

Of these, Church has the best video, followed by LBT. What’s so remarkable about the whole “Pontoon” thing is LBT haven’t caved into any pressure to act like 20 year olds. They’re being completely themselves all the while making millions.

Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.

Will Win: “Red Solo Cup” – as stupid as the song, but captures it perfectly

Should Win: “Pontoon” – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it’ll likely be this one

Here’s my picks for the best of the best, the cream of the crop for country singles in 2011. See, the year wasn’t all bad, now was it?

45. Steel Magnolia – “Last Night Again”

A flirty romance tale finding a couple eyeing each other from across the room is made even sweeter knowing Megan Lindsay and Joshua Scott Jones are an item in real life.

44. Terri Clark – “Northern Girl”

How refreshing is it to hear a singer singing about where they’re from and instead of a bunch of cliches, it relays to personal experience? Clark, from Canada, sings lovingly of her homeland here and shows just how great her voice still is after more than fifteen years in the industry. If you haven’t paid Clark much attention in a while, she’s worth checking out.

43. Miranda Lambert – “Baggage Claim”

A Beyonce inspired ditty that says everything Reba McEntire wished she could’ve said in “Who’s Ever In New England.” This guy ain’t got a place to come back to.

42. Jacob Lyda – “I’m Doing Alright”

This light and breezy tale is an exercise in being comfortable in your everyday life, something we could use more of in our world. Lyda co-wrote it with legendary songwriter Paul Overstreet (whose son Chord is Sam Evans on Glee) and it has that old-time feel of a great country song. Lyda didn’t make waves in 2011, but he sure deserved to.

Here you go. My least favorite country singles of 2011. You’ll see some huge hits here. But remember it isn’t about chart performance, but rather about quality:

40. Ronnie Dunn – “Bleed Red”

On his solo debut Dunn could’ve worn any hat. But he choose to go down the route of being over-produced and turned into a pop balladeer. And “We all bleed red” is such a statement of the obvious, it hardly bares drugging up in a song.

39. Jason Michael Carroll – “Numbers”

This is exactly why people hate country music. A laundry list of numerical symbols? Seriously, just how lazy can songwriting get?

38. Keith Urban – “You Gonna Fly”

On its own this isn’t a bad song. But I’m including it here for the simple fact it showcases an artist continuing to coast on their merits with yet another sound alike rocker that has become the norm. Urban will always be hailed for his guitar playing and entertaining abilities but not for his diversity in song selection. He just isn’t exciting anymore.

37. Luke Bryan – “I Don’t Want This Night To End”

A guy and a girl are rockin’ in a truck as if no other modes of transportation exist. Of course, she’s “so damn hot” he can’t stand it. He may not want this night to end, but this song surely can.

36. Jake Owen – “Barefoot Blue Jean Night”

A marriage of 80s rock with banjos coupled with a disposable tale of having fun with not only your buddies but the requisite hot babe, too. I Don’t Wanna Grow Up may be the smartest line in a country song all year.

For the first time in eleven years, Martina McBride held residence at the South Shore Music Circus, an in-the-round concert tent complete with a rotating stage, for two shows Aug 6-7. Judging by the sold out crowd, the fans were as happy to see McBride as she was to be back in Cohasset, Ma. This show marked my annual trip back to the venue (a mere fifteen minutes from my house), and my first time seeing her from front-row seats.

During the set she ran through most of her beloved hits. Sitting so close to the stage, I was privy to her set list, so I knew what she was going to sing before she walked on stage. Neither good nor bad, it took away that element of surprise I often look forward to at a concert. It kind of ruins it for me to know what’s going to be sung in advance, but it didn’t dampen my appreciation for the night.

She opened with a brand-new song, “One Night” which will appear on her upcoming album Eleven. An up-tempo tune, it continued down the path set by “Teenage Daughters” of showing off a fun more relaxed side of the singer. Without skipping a beat she ran through other up-tempo hits including “My Baby Loves Me,” “Wild Angles,” and “When God-Fearin’ Women Get the Blues.” It was nice to see her spanning her whole career and not just her hits post-millennium.

The night’s first ballad was the recently-debated “I’m Gonna Love You Through It,” a story about a woman battling cancer. I was most anticipating this song because I wanted to hear for myself if it really was as prodding and lifetime movie-esque as people have made it out to be. Hearing her talk about she knew she had to record the song the moment she heard it, put it in a new light for me. It’ll never be among my favorite of her singles, but it isn’t as god-awful as everyone makes it out to be. As always, she gave it a very passionate performance.

For the remainder of the evening she mixed her biggest hits with well-chosen covers. What struck me about the set was the balance of up-tempos and power ballads. I really enjoyed how she didn’t lean too heavy on one area of her catalog but covered all her bases. Of course, though, it was the ballads that got the strongest reaction from the crowd. She received long standing ovations after performing “Anyway,” “Where Would You Be,” and “A Broken Wing,” which she sang with all the gusto in her body. I enjoyed how she would give the crowd time to applaud before signaling to her band to launch into the next song. Being so close to the stage, you’re able to see, and appreciate, all the little nuances of the performance.

But the highlight of her set was her cover of Kris Kirstofferson’s “Help Me Make It Through The Night.” She quieted down the arrangement and let the steel guitar player do his magic. As with her studio recording from Timeless, she uses this song as an exercise in restraint, rarely singing above a whisper. I loved hearing how simple the song came off. In giving the song room to breathe, she let the quiet moments shine through.

The other cover, Bill Wither’s 70s classic “Lean On Me” was well-sung and had the crowd singing along, but seemed an odd choice. I loved her take on the song and enjoyed the opening bluesy steel riff. Her steel guitar player seemed to play on and on for well over a minute and a half, whipping the audience into a tizzy.

I love how McBride relinquished the opening verse of the song to her younger brother who’s the lead guitar player in her band. It added another dimension to the night. Of all the songs, “Lean On Me” was easily the one sung along to the most. Everyone knows it from either hearing it on the radio or from their childhoods. I loved she chose to cover the tune, but wondered, if she hadn’t, which of her own hits she would’ve sung instead.

The biggest surprise of the night was the medley of “Love’s The Only House” and “Blessed.” In a reflective sense, those two songs go together really well. You have the social commentary of “House” mixed with the I’m doing alright nature of “Blessed.” Almost like, there’s a lot of downtrodden people in the world but my life is pretty well on track. McBride nicely opened the medley by playing the harmonica bit herself.

Following “House/Blessed” she went on to close the show with “This One’s For The Girls” and “Independence Day.” She sang “Over The Rainbow” as the encore, a cover I’d first heard her sing at the same venue eleven years earlier. It really is true, you can never grow tired of hearing that one.

In the end, it was an excellent show that brought up my appreciation of McBride and her music. I’ve been thinking a lot about her since and am really looking forward to the new album in October. I only wish the acoustics weren’t so loud, but it didn’t dampen my experience in the least.

Following the show, McBride sent out this Tweet: “Tonite’s show in Cohasset was amazing!U guys rocked! Loved it! Now on the bus.Have John and all 3 girls w/me. #3dayvacationofficiallystarted.” I LOVE modern technology!

The biggest surprise of the night was the opening act, Blaine Larsen.

Discovered by Joey + Rory’s Rory Lee Feek when he was just a young teenager, he’s 25 now, Larsen used just a guitar and a stool to come off extremely likable, and inject more personality into his performance than any other opening act I’ve seen in recent memory.

And while his style is very similar to that of Chris Young, Scotty McCreery, and any other deep voiced male country singer, he was able to distinguish himself from that pack with his mix of both serious and playful songs.

He ran through a few of his singles including “I Don’t Know What She Said” and “Chillin.” He left not a dry eye in the room with his only top 20 hit “How Do You Get That Lonely,” and played the “songwriter’s version” of George Strait’s “I Gotta Get To You” which he co-wrote with Jim Lauderdale and Jimmy Richie. But it was his excellent cover of Merle Haggard’s “That’s The Way Love Goes” that proved his talent. Anyone who can come up to snuff with a Haggard cover, is worth a lot in my book.

And even though I’m not to familiar with it, I would’ve liked him to sing his debut single, “Back In My High School,” only because it was the song that first got the attention of the industry and allowed “Lonely” to go top 20. But nonetheless, he should be a big star, but given that there’s much competition from others who sing just like him, and the fact he didn’t have American Idol or Nashville Star to gain exposure, that seems unlikely. But that doesn’t diminish his talent.

Hits not withstanding, and if his songwriting career keeps picking up, Larsen proved in one 30 minute set, that he really is going places.

Started by country blogger Leeann Ward from Country Universe, Favorite Songs by Favorite Artists (FSBFA) is a rundown of a writer’s 25 favorite songs by an artist. I felt compelled to compile a list of my own after going to see Martina in concert earlier this month.

Martina McBride is a singer easy to take for granted. She’s been a consistent hit maker for the last 18 years wrapping her booming voice around everything she touches.

Her career began selling t-shirts for Garth Brooks before she got sly and sent a purple envelope to the offices of RCA records containing her demo tape. Since they only heard submissions they approved, she wrote “requested material” across the bottom. Needless to say it all worked and she was quickly singed to the label, her home until late last year.

Her first album The Time Has Come didn’t spawn any major hits and was largely ignored by country radio. The follow-up, The Way That I Am put her on the national map. Lead single “My Baby Loves Me” quickly shot to #2 and “Life #9” followed suit. But it was the release of “Independence Day,” a tune about domestic violence told from the point of view of an eight-year-old, that really grabbed attention. The controversial subject matter kept the song from reaching the top ten, but it still became her career record.

Her next album Wild Angles would contain her first #1 hit in the title track and she hasn’t looked back since. A 4 time CMA Female Vocalist of the Year winner, McBride is one of the most beloved vocalists of her generation.

And McBride has used that voice to tell many a tale mostly about various stages of relationships. In looking back over her career, I was pleasantly surprised to discover most of her best tunes cast her in various relationship roles whether it be a woman whose dreams are shattered by her man or a woman begging for what she wants to hear from a man who’s checked out of the relationship. She’s played the strong woman, a woman blinded by love, and even turned introspective in wondering if she’s the reason the love isn’t working out. While most of her songs tell a similar story, all add another layer to the various roles women play in their love lives.

While she hasn’t seen the top 10 since 2007, McBride keeps plugging away at her brand of country music. A new album Eleven (her 11th album consisting of 11 tracks) is due in stores October 11. Here’s my list:

25. “Everybody Does”

2007 – Waking Up Laughing

An above-avarage album track from Waking Up Laughing, “Does” is an instant mood enhancer with an feel good melody and production choices. What I love is that McBride isn’t striving for anything here but rather letting lose and having a good time. Some of her best songs are when she relaxes and moves with the groove, and “Does” is a perfectly executed example.

24. “Learning to Fall”

2003 – Martina

Sure it’s one of her pop-leaning songs, but it’s actually more country than most of what passes for country music these days. If you listen carefully, you’ll hear the steel guitar shining through.

What won me over with “Fall” was the chorus – like all great choruses, it’s fully-developed and instantly memorable due to its sing-songy nature. I love the guitar solo-bridge as well, it calls attention to the less is more approach to the production of this song.

23. “If I Had Your Name”

2007 – Waking Up Laughing

An example of where a killer hook is worth the weight of a song – “If I Had Your Name/I’d Be Changing It By Now.” It’s a fresh spin on a tale of seeing the writing on the wall before you jump in too far. This “prevention” approach is a change of pace from McBride who usually has to be hit upside the head before seeing the error of her ways.

22. “The Time Has Come”

1992 – The Time Has Come

The title track to her largely ignored debut album, “Come” opens with a nice mid-90s groove and steel guitar riff. This was one of the first instances of McBride’s infatuation with relationship songs and while the production is sunny and bright, the lyrics tell the story of a woman declaring that the time has come to end her current relationship. And unlike forthcoming hits like “Whatever You Say,” she’s able to see the writing on the wall – they’ve had their moment in the sun but that moment has now passed and it’s time to move on. And like the end of the relationship, the song passes like a feather in the wind, long enough to convey the message yet short enough to convey the fact she’s moving on without looking back.

21. “Wrong Baby Wrong Baby Wrong”

2009 – Shine

It took me a bit before I warmed up to this song. But the groove and less is more approach to the vocal and production is a huge selling point. She might have gone through a period of inconsistency with her overall albums, but there were real gems if you dug deep enough. “Wrong Baby Wrong” is one of those songs. The more I listen to it, the more I dig everything it has to offer. Too bad it stalled out at #11 last year.

20. “It’s My Time”

1999 – Emotion

Another instance of McBride playing a strong woman, “Time” finds her on the road, 100 miles out of her hometown, on the phone with the man she’s leaving in the dust. He asks where his dinner is, she’s replays she’s too far gone care because there’s a time to stand, fly, let go forever, grow, and discover that every second of life is precious. And for this woman, that time is now.

A blink and you missed it single from 1999, “Time” isn’t as polished as some of her other hits but the hurried nature of the track perfectly compliments her rush to be out with the old and in with the new. She isn’t getting any younger and she knows she better start living before any more of her life passes her by.

19. “Teenage Daughters”

2011 – Eleven

Here’s a little twist – a relationship song from McBride that doesn’t cast the light on the couple but rather the kids. “Teenage Daughters” is the next evolution in her story – now in her 40s she’s singing about the challenges of raising teenage girls. Instead of running from or playing down her age she embraces it and succeeds in creating an anthem for anyone who is going through or has been through raising 13-18 year olds.

But most important of all she’s realized a simple truth – she’s been there before, herself. “At seventeen she’s just like me when I was seventeen so I don’t blame her” sings McBride will all the wisdom that comes with a full circle moment. The children might not be able to see it at the time, but their mom fully understands what they’re going through even if it might not seem that way at the time.

18. “Still Holding On (Duet with Clint Black)”

1997 – Evolution & Nothing But The Taillights

A coming together of two talents at their commercial peak didn’t exactly burn up country radio, it peaked at #11, but always made an impression on me. I love how well both singers work together and the easiness in which they convey the story of still holding on to a love that’s slowly dying. McBride sings rings around Black on this one, but how could she not? When she lets loose on the bridge, there isn’t many who could match her.

17. “Over The Rainbow”

2003 – Martina

A closing concert staple and live bonus track from Martina, “Rainbow” is a moment easy to mess up – you’ve heard this song so many times before that to hear it again is almost overkill. But to hear McBride sing it, is to hear the song in a new light, like you’ve never heard it before. The way she comes in A Cappella and builds to the final boom is outstanding. I’ll never grow tired of hearing this one.

16. “Concrete Angel”

2001 – Greatest Hits

A tale of ignoring the signs right in front of you left “A little girl caught in the hands of fate.” She was dead by morning, all at the hands of her parents. How could it not have fully registered – this little girl walked to school with a lunch she packed herself in the same dress she wore the day before with linen and lace to hide her bruises.

Unless you’re without a soul, you can’t help but feel for the little girl, a nameless victim who, through no fault of her own, was raised by people unfit to parent and protect her. Of all her moments of social commentary this was easily her best and the strongest song on country radio at time of its release. It’s an unassuming masterpiece and the best modern example of the three part story arc done correctly. Plus, it’s one of my favorite videos she’s ever made.

15. “A Broken Wing”

1997 – Evolution

She has dreams, he just shoots them down. She wants to fly, and he tells her she’ll never leave the ground. But she loves him like he’s the last man on earth because she needs his protection. Imagine his shock when she doesn’t leave for church that Sunday morning. He finds a note and a blowing curtain, and she reveals her true strength.

The best of McBride’s ballads are tinged in sadness and touch upon a truth buried deep in America. She may be nameless in song but she’s out there in our suburbs and in our cities being told she isn’t good enough. But when she finally grasps the reality that real love doesn’t hurt, there’s no stopping her from soaring into the heavens.

14. “When God-Fearin’ Women Get The Blues”

2001 – Greatest Hits

The lead-off single to McBride’s Greatest Hits disc was a great departure upon its release in 2001. Coming off of the sappy “There You Are,” she needed something to either elevate her career to the next level or make an artistic statement. In the end she chose the latter, releasing a rocking warning to “lock up your husbands/lock up your sons/lock up the whiskey cabinets/girls lock up your guns” because a god-fearing woman has the blues.

Drenched in dorbro and steel guitar it’s hard to believe just ten years ago a song this country could get airplay on country radio let alone climb to #8. Even more amazingly, Dan Tyminski sings harmony on this track – which had McBride proclaiming in the liner notes of the album how excited she was to have a Soggy Bottom Boy on her record.

13. “I Just Call You Mine”

2009 – Shine

My favorite single from Shine, “Mine” might not be among McBride’s best loved hit singles even though it’s the best thing she’s released to country radio in years. I love everything – her vocal and the steel guitar laced production – about this song. It’s rare to hear a love song from her, but she can be convincingly romantic just like the best of them.

12. “Help Me Make It Through The Night”

2005 – Timeless

An exercise in restraint, this cover of the Kris Kristofferson classic is a modern gem. McBride uses a quiet whisper to bring the story of desperation to life that ranks among her best vocals ever on record.

11. “My Baby Loves Me”

1993 – The Way That I Am

Arguably the most important single of her career, it turned the tide in her relationship with country radio and proved her staying power as a country singer in the 90s.

What’s remarkable is, “Love Me” still sounds fresh eighteen years later and sounds like it could’ve been on McBride’s last album. It’s a testament to her ability to choose great songs and Paul Worley’s timeless production values. And who wouldn’t their baby to love them just they way they were?

10. “I Love You”

1999 – Emotion

A perfectly timed summer smash, “I Love You” took McBride to the next level – it was the first song to sway the Country Music Association to award her Female Vocalist of the Year, an honor she would have four times throughout her career. With Trisha Yearwood out of the way, and Faith Hill still receiving a cold shoulder, there was no other clear winner that year.

With all the attention usually placed on her power ballads, it’s easy to forget that McBride can be sunny, cute, and approachable just like all her pop-country contemporaries. And when she does go up-tempo the results, as proven here, can be very good indeed.

9. “Blessed”

2001 – Greatest Hits

My favorite moment of optimism on record, “Blessed” is self-congradulatory without being self-indulgent. McBride sings about finding her way, thanking God for what she’s been given and being blessed with more than she deserves. After a career filled with relationship songs, it’s a nice change of pace to hear McBride take a moment to reflect on her own journey and put her sense of contentment into words. She might not have written this, her last #1 hit to date, but she could’ve very easily. That’s the mark of a well-chosen song.

8. “Anyway”

2007 – Walking Up Laughing

The first single of her career McBride had a hand in writing, “Anyway” is about doing it no matter what, even if it seems like it won’t matter in the end. A cooky concept that’s been done before, McBride seems to keep it fresh in her phrasing and delivery. Sure it’s another ballad to showcase the big voice, but it manages to pack a great deal of substance into the lyrics and a whole lot of passion into the vocal performance.

7. “Independence Day”

1993 – The Way That I Am

The career record that stalled at #12 became the video that turned any skeptic into a McBride believer. A rare moment of clever wordplay, “Independence” isn’t about the holiday it’s set during, but the release of an innocent eight-year-old girl, taken to the county home when her father blows up the family house taking him and her mother with him.

McBride would veer into social commentary mode a lot in her career, and even score some big hits in this vein, but little can top the words out of Gretchen Peters’ pen. This is her most played recurrent hit and one I could go without hearing for a while, but it shows where McBride can go when everything falls into place.

6. “Whatever You Say”

1997 – Evolution

Another relationship gone sour song, “Say” is a woman unable to get through to her husband. They both know how to talk, and she knows he can hear her, but nothing seems to be getting through.

She’s fed up and wants to leave, but is waiting for what’ll never come – his plea for her to stay. Unfortunately, her weakness is prevailing here. How long can you harp at someone just to get what you want before your spirit is compromised? If you’re relationship his diminished to the point where you’re begging your man to say he needs and will never leave you, than you’re about as blind as they come. The writing is on the wall and you just have to walk out the door. But when love is at stake, the right thing isn’t always the easiest thing to do.

Until this write-up, I never really listened to the words of this song. I’ve spent the last twelve years caught up in her vocal – the way it builds from the verses to the choruses. But underneath the sheen is a lot of substance that makes you think about the choices you’ve made in your life for love.

5. “Reluctant Daughter”

2003 – Martina

Arraigned by Ricky Skaggs, this gem from Martina is a pure country delight. A story of a woman confessing to Jesus that she feels like a reluctant daughter to God, has everything – killer harmonies, fantastic mandolin and fiddle work, and spiritual undertones. It took me some getting used to, but unlike most of her album cuts, “Daughter” hasn’t aged a day and will be as timeless twenty years from now as it was in 2003. Couldn’t this “Daughter” have been released to radio instead of the prodding “In My Daughter’s Eyes?”

4. “Where Would You Be”

2001 – Greatest Hits

By the time “Where Would You Be” surfaced in 2001, it came off as another in a long line of love done wrong songs in McBride’s catalog. While the story line follows the familiar path (fighting for a man who isn’t pulling his own weight in the relationship), it strike a different tone with the booming chorus. She wraps her voice around those notes so well, you can’t believe a human being can pull that off.

But like all of her relationship songs, “You Be” adds another layer to the fold. She hasn’t yet taken off and realized it’s her time nor is she begging for her man to say what she wants to hear. Instead she’s wondering if maybe she’s been the problem all along – “Have I become the enemy?” she asks aloud in the bridge. “Is it hard to be yourself in my company?” she wonders always wanting to know the simple truth – where would he be if not with her.

3. “Wild Angles”

1995 – Wild Angles

It’s easy to see why “Wild Angles” a love song trying to explain how two people can stay together even though they still break each other’s hearts and spend nights on the jagged side, was McBride’s first chart-topping single. A mid-90s classic, “Angles” gets it all right – an opening guitar riff and infectious melody to draw the listener in, a perfectly orchestrated vocal that hits all the right notes, and an overall package that’s nothing but delightful. It’s no wonder it’s a fan favorite to this day.

2. “Swinging Doors”

1995 – Wild Angles

A largely forgotten low charting single, “Swinging Doors” is one of my favorite of McBride’s songs both lyrically and melodically, and has been since it’s release to radio in 1996.

This strong woman is done playing games with her ex and forcefully proclaims, “I won’t be leaving my heart open anymore” for a man who comes and goes whenever he pleases. It may be wrapped in an infectious package, but there’s much to uncover underneath the sunny sheen.

1. “Strangers”

1993 – The Way That I Am

The best song of her career never released to country radio, is one I never would have discovered had it not been resurrected on her Greatest Hitsalbum ten years ago, despite the fact I’ve owned the original album since 1995.

The story of the couple coming full circle from strangers on the street to strangers getting a divorce is the essence of a great country song. It’s easy to forget a time when lyrics made you think and singers put just the right emotion into their vocal performance to sell a story (and it also helps that Bobby Braddock, a 2011 Country Music Hall of Fame Inductee wrote this song). She would go on to score big hits in this vein, but her first power ballad is easily the best she has ever reordered.